The Predictive Programming of Snake Eyes and The Ritual Sacrifice of Charlie Kirk
Behold the cinematic oracle from 1998. Brian de Palmer's Snake Eyes, a predictive tale of veiled assassination connecting the programming of the past to the drama of power and betrayal today.
Snake Eyes is a film about a conspiracy to kill a politician. The slain figure in this film, Charles Kirkland, is a politician killed by a fatal wound to the neck. A strike reminiscent of the sacrificial rights in forgotten temples where the vital essence is severed to unleash hidden forces. In the arcane correspondences of names, Charles Kirkland mirrors Charlie Kirk, a modern steward of influence whose own departure from this mortal coil aligns with the film's veiled prophecy.
The film unfolds amid the thunderous rights of a heavyweight boxing contest. A coliseum of strife where the combatant Lincoln Tyler submits to a contrived fall symbolizing the surrender of strength before unseen masters. In the outer world, a suspect named Tyler Robinson emerges in Kirk's saga, invoking the profound emblem of the Tyler in Masonic law. That vigilant sentinel at the lodge's portal sword drawn against intruders, embodying both guardian and executive of sacred boundaries.
Thus, in the film, Lincoln Tyler bears the mantle of the Atlantic City Executioner, a title laden with the dual essence of protection and judgment, as if the craft itself whispers through the script. The cinematic bout takes place on September 10th, a date etched in the ether, mirroring the very day of Charlie Kirk's enigmatic end.
The veil thins further for the production was woven upon the grounds of the Trump Taj Mahal in Atlantic City, a domain once held by Donald Trump. An ally bound to Kirk in the webs of worldly alliance. The character Gilbert Powell drawn from the archetype of Trump himself.
Upon the film's promotional poster, Nicholas Cage gestures with a hand sign, "As above, so below, echoing those captured in photos of Trump and Kirk, a symbol perhaps drawn from ancient gestures of oath and allegiance or the hidden language of initiates."
As the poster decrees, "Believe everything but your eyes." A maxim akin to the hermetic admonition that the profane see only illusions while the adept pierces the veil to discern the eternal patterns. In this convergence of film and fate, we glimpse the grand architecture of symbolism where art foreshadows the unfolding of cosmic dramas, reminding us that the true mysteries lie not in the visible but in the eternal interplay of shadows and light.
